Jelena Rosic

Jelena Rosic

Master of Film

Jelena Rosic (Serbia, 1980) is a filmmaker and researcher. During her Master’s studies, she has been working as part of the NeuroCine research group at Aalto University, Finland, that studies filmmaking and related brain functions and participated in Neuroaesthetics of Film at UvA. Rosic’ work on Annotation of film content for a neurocinematic analysis: Implications for embodied approaches to filmmaking, was presented at the 2013 conference of the Society for Cognitive Studies of the Moving Image.

Previous education
Oriental Studies: Arabic Language and Literature (Faculty of Philology, Belgrade)
MA Film Editing (Faculty of Dramatic Arts, Belgrade)
Visiting film student at Tisch, dffb and Centro Sperimentale

Read more
- Jamais Vu - a research project, Jelena Rosič
- De Filmkrant: an interview with Jelena Rosic (in Dutch) about her research project 'Jamais Vu'
- Jelena Rosic will participate at SCSMI Conference Berlin 2013
- AHK Talent Grant for Jelena Rosic
- Research snapshots: 'Become what you see', an interview with Jelena Rosic

Jamais Vu - a research project

Artist's statement
My research project starts as a quest to approach cinema other than a pre-given set of symbols and representations waiting to be reclaimed from the world and so narrated. Storytelling is not in what is seen or given for one to see. It ought to be built by affects - not yet identifiable sensations, not yet categorized into judgments. Images are not there to be recognized, to represent the familiar, make an analogy in order to be understood. Seeing as looking for the central point, where everything will come together, is imposing on making sense, providing resolutions in order not to be questioned further. It abounds to storytelling in order to (ap)prove of causalities, projecting a point of view, so that a world at view can be identified - either from the centrality of the perspective or from the margins. Seeing needs to place viewers on uncertain grounds where it becomes a condition for an active exploration: it needs to move the body.

This de-familiarization is searching for affect mechanisms to individuate and differentiate seeing in cinema and to focus the attention onto what otherwise won’t be seen - as montage does. To make meaning in and by itself.

Cinema needs to fight the common sense by sharpening the senses - with forms that put us all out of our moral vantage points and asks us to move a few steps forwards or backwards to actually see what is in the image. This is where both the world and the self become cut into the screen, erasing a given central/marginal point of view.

This is where the vantage point of cinema can be invented and constantly reinvented.

Other Projects

- 'Jamais Vu' (in development), writer/director
- 'Humidity' dir. Nikola Ljuca (SR/NL)  (pre-production), co-editor
- 'Take 0: The Making of Symbiopsychotaxiplasm' by Barbara Visser (NL), editor, IDFA Paradocs 2013
- 'Hospitality' by Bogomir Doringer (NL), editor, IDFA DocLab 2011

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